The two releases so far on Les Yeux Orange’s Good Plus imprint have proved as evasive as they are killer. This month, Good Plus have resurfaced for the second time this year with ‘Togosava’, three characteristically killer afrodisco edits.

‘Avidio’, spanning the entire A-side, is an atmospheric mid-tempo disco chugger with a swinging groove. It’s really nice, but the flip side is where the action is.

‘Yanga Mbiwaa’ is a lurching afrodisco monster that rises up with West African chants and juicy bass before throwing you off the trail with dissonant guitar, double-stops and key changes, making it all the sweeter when it does lock in to the groove.

‘Autoradio’, spins you around the eternal ephemeral, a hurricane of formalities, where bright alto sax ponders the point of going, moving, introducing and asking..It’s dark, decadent and bouncy, and the 45turns favourite. Listen to it below.

You might be able to buy Togosava on Les Yeux Orange’s Bandcamp page, if you keep your eyes peeled.

Having previously put out left-of-centre releases from the likes of Jonny Rock and DJ Uffe, the fifth 12″ in the edition stays true to the OYE formula – or lack of it. A whacked out synth-guitar mutant screams to the heavens above a juicy locked groove on ‘Andong’, and ‘Arnis’ brings the dark Middle Eastern vibes to the fore in a semitonic work-out that wouldn’t be amiss on Disco Halal.

The flip side is full of spacey percussive headmashery for restless feet and half-open eyes, a tribal call and response to mirror your inner circuit trip into discoid overload.

Disclaimer: nobody knows where this source material came from. It may not exist in any knowable form.

Norwegian reissue crew Preservation Records have brought out Marcos Valle’s eponymous 1983 album (his 12th), now on vinyl for the first time ever.

As any YouTube disco surfer will know, ‘Estrelar’, the opening track, is a killer disco/boogie cut. The funky verse breaks are bolstered by a transcendent pop hook, elevating the song if only to break it back down in disco slap-bass euphoria.

Although the musicians on this record shine on feel-good, brass-heavy disco cuts like ‘Estrelar’ and ‘Dia D’, the synth-textured grooves found on popular Brazilian tune ‘Samba de Verão’ or ‘Naturalmente’ stay firmly put on the beach at sunset.

On tracks like ‘Para Os Fillhos de Abraão’, Valle gets himself into full Beach Boys pop crooner mode, complete with full band harmonies. There’s as many hooks as conga hits, just one of the reason why this a very special crossover album.

Valle is an extremely versatile singer, knowing how to work the inexplicable charm that Brazilian Portuguese has over pop ballads. He reaches out beyond the overdone disco formula and saccharine piano ballads common to lots of 80s Brazilian music. As a player on the album himself, this must have been important for Valle in his exposition .

The sixth instalment of Phonica’s small batch Special Editions series sees Quiet Village turn out a dark, atmospheric groove from an album track by Danish vocalist/pianist Agnes Obel.

The main track on this disc is a slow burner that never quite climaxes, and you wouldn’t really want it to. Instead, Quiet Village treat us to nine minutes of smoky beats and sizzling pads that underpin it with something frantic, a sprint that never arrives, the perpetual car-chase, or haunted by the chase of your own tail. On the flip you’ll find the lush Agnes Obel acapella.

(45turns tip: a killer set opener)

Phonica Special Editions 006 is available on the 6th October. You can pre-order it over at the Phonica site.

Letta Mbulu’s seminal 1983 effort is a landmark in South African musical development, and the kind of record you would pass over in a bargain bin.

The first run of Be With Record’s reissue of this synth-funk classic in 2015 ran like water, and it wasn’t long before the Discogs stock exchange inflated with prices of the reissue resembling the original 1983 press. This September, Be With Records, in their great wisdom, have repressed the reissue of the original and you can buy it now. Lost? Then just listen.

The South African pop prodigy straddles the 45turns spectrum, from cosmic soliloquies echoing British New Wave (the oft-sampled ’Normalizo’) to hard disco boogie (’The Village’) and balearic odes (‘Down By The River’). Mbulu does all this without falling astray of her distinctly South African milieu: songs like the opener, ‘Juju’, with its chant-led energy and distinct bass guitar style. look forward to Paul Simon’s 1986 Southern African expedition, ‘Graceland’, released three years after ‘In The Music…’.

An extremely rare South African LP, ingeniously ahead of its time, once again available on vinyl and sounding as fresh as ever.

The reissue of ‘In The Music The Village Never Ends’ is available for a short time at Be With Records. If you’re strictly Discogs, skip the pirates and get it from disque72.

FYI Chris are a small collective of producers taking the London scene by storm with a string of well-received deep house releases over the last three years. Following efforts on South London’s Rhythm Section and Bristol’s Banoffee Pies, they’ve taken to Church for their latest outing.

Opener ‘Home Alone’ stands out for its reverb-soaked trumpet musings that soar over lo-fi breakbeat drums and hints of strings, a siren call at twilight to take to the streets.

Jongno Edits return for round five of their admirable quest to beef up 1960s Korean pop, disco, jazz and psych for the modern dance floor. The label boss is on chopping duty this time round, taking over from Japanese edit maestro Mori Ra on volume four.

A1, “42 Below”, revolves around a locked groove that takes root in jazz chords and patterns, escalating into a funk monster with the bass riff you’ve been searching for.

The B-side, lifted from ‘an obscure LP from a Korean percussion ensemble with Traditional Korean folk elements and tribal drums and chanting’ is the kind of cheeky mid-tempo disco chugger you’d slip into a set to start seriously heating things up.